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Damba
Damba
Eh the river bank, I want to wash my face by the river bank (3X)
the wash-water is not sweet, it's good to wash by the river bank.Notes on the
lyrics:
The sense of line four is that water you have washed in, "ji da ko," contains
the dirt which has left your body. Now that it has the dirt it is "not sweet" -
"man di" - "sweet" meaning, by implication, "clean" or "interesting." The
imagery is of life before marriage. The singers tell the young bride-to-be that
what she has literally and figuratively left behind in the wash water is no
longer interesting. In essence, the song tells the young woman that it's time
to leave behind the things of childhood and embrace her new identity as a
wife. The lyric is a good example of Mande rhetorical techniques of metaphor
and indirection.
The partial translation provided in the CD liner notes renders the first line as
"I wash my face." The lyrics themselves are somewhat ambiguous as to who is
singing, the bride-to-be or the other villagers. If they are "n'nya," then they
mean "my face." If, instead, they are "I'nya," they mean "your face." In either
case, the sound indicating possession, "n" for "my" or "I" for "your," is
somewhat hidden by the singers' pronunciation in the context of the song.
Both translations work.
Call
T . T T . T T . T T . .
f . r l . l r . r l . .
Kenkeni
. . O . O O . . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Sangban
C . . . . O . . O . . . C . . . . O . . O . . .
x . x x . x . x x . x . x . x x . x . x x . x .
Dun Dun
. . . . O O . O O . O o . . . . O O . O O . O o
. x x . x x . x x . x x . x x . x x . x x . x x
The sangban part is very similar to the sangban for Dunungbe - the bell is the
same - but in this piece the sangban has one additional note. Thedununba drum
also plays three, rather than two, two-note phrases. You can distinguish
between Damba and Dunungbe by the pitch relationships in the ensemble
rhythm:
1 . . 2 . . 3 . . 4 . .
K . . O . O O . . O . O O
S C . . . . . . . O . . .
. . . . . . . O O . O O
. < - - - - > . . . . .
note here: <------> the "kenkeni window" - the rest in the sangban/dununba
conversation leaves room for one complete articulation of the kenkeni phrase.
1 . . 2 . . 3 . . 4 . .
K . . O . O O . . O . O O
S C . . . . O . . O . . .
. . . . O O . O O . O O
. < - > . . . . . . . .
note here: the "kenkeni window" only gives space for a single note from the
kenkeni phrase.
Djembé 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .
Sangban variation: 1
C . . O . O . . O . . . C . . O . O . . O . . .
x . x x . x . x x . x . x . x x . x . x x . x .
Sangban variation; 2
C . . . O O . . O . O O . O . O . O . . O . . .
x . x . x x . x x . x x . x . x . x . x x . x .
Sangban variation: 3
C . . . . O . O O . O . . O O . . O . . O . . .
x . x x . x . x x . x x . x x . x x . x x . x .
Sangban variation: 4
C . . . . O . . O . . O O . . . . O . . O . . .
x . x x . x x . x x . x x . x . x x . x x . x .
Sangban variation: 5
C . . . . O . . O . . O O . O . . O . . O . . .
x . x x . x x . x x . x x . x . x x . x x . x .